In this heartfelt yet emotionally flat road film, three determined older nuns join forces with a wide-eyed young man on a quest to save their convent. Titled “Holy Days,” the film features an impressive cast, including renowned actresses Judy Davis as Sister Agnes, Miriam Margolyes as Sister Luke, and Jacki Weaver as Sister Mary Clare. However, it quickly becomes apparent that the performances lack the energy one might expect from such esteemed talent. The film struggles to find its balance between comedy and drama, failing to elicit genuine laughter or create a strong emotional bond with its characters.
The characters themselves do not leave a lasting impression, despite the filmmakers’ attempts to present young Brian (Elijah Tamati) as the emotional core of the story and the nuns as quirky individuals. Their dilapidated convent, intended to evoke viewer investment, appears drab and uninviting; it’s in disrepair but lacks any cinematic charm. The inhabitants do little to enliven the space, making the convent feel almost lifeless. At times, one might even wonder if the developers are right, contemplating the idea of transforming the aging building into a modern apartment complex or shopping center.
The intended sentimentality of the narrative, written and directed by Nat Boltt and based on Dame Joy Cowley’s novel, seems misguided. It fails to engage audiences on any meaningful level, instead relying on overly sentimental moments that come off as forced rather than heartfelt.
When the nuns discover that their land is in jeopardy, they embark on a journey to locate a property deed in hopes of saving their home. Accompanying them is young Brian, who is dealing with the challenges of his father’s new relationship following his mother’s passing. Although the film is set against the stunning backdrop of New Zealand, the locations chosen for their journey lack intrigue, and the plot itself feels thin. An unexpected twist halfway through diminishes the urgency of their mission.
In terms of humor, Boltt resorts to predictable gags, such as nuns engaging in mildly outrageous behavior. One scene features Sister Agnes smoking a cigarette, while another reveals Sister Luke’s dentures flying out when she takes a puff. There are also moments reminiscent of the “kids say the darndest things” trope, exemplified by Brian’s shocked reaction to Agnes confessing to stealing a car, where he exclaims, “You did a sin! You should be prostituted!” These punchlines feel glaringly obvious, lacking subtlety.
From the outset, it becomes apparent that “Holy Days” is likely to descend into cliché and sentimentality. It ultimately culminates in an awkward scene where the main cast gathers for a lively dance-off, smiling broadly as they embrace the moment. While there are brief moments of interest, primarily stemming from the talented trio of actresses, they are few and far between.
“Holy Days” is currently showing in Australian cinemas, set to premiere in UK cinemas on August 14, and is available on digital platforms in the United States.
